I just came back from a US tour with Bölzer a month ago and keeping busy with a long string of one-nighters in Europe this fall. There’s a slew of reissues coming over the coming month, but Kainskult is the obvious focus for me right now.
Recently you have released a new album, how would you describe the musical sound that is presented on the recording and also how does it differ from the stuff you have released in the past?
Kainskult is pretty much a natural progression from Perfection & Permanence. I suppose the main difference is that there’s more focus on rhythmic material this time around, and less ambient passages. There’s a tangible tribal feel to it, seething and hallucinatory.
Your lyrics have on the new recording have a gnostic concept to them, can you tell us a little bit more about the songwriting?
Gnosis is at the very core of T × R × P, so it’s nothing unique to Kainskult. The object of the whole ritual is to achieve enlightenment, so as to be able to escape the bounds of flesh and become God.
Kainskult is first and foremost a celebration of Kain, the original transgressor and heresiarch, and all those who follow in his footsteps. It’s nine chants of defiance, of Willful heresy.
On the website you had some pictures of runes, can you tell us a little bit more about your interest in the Germanic alphabet?
The emanate from time before time, from the whirling chaos of uncreation, and through them, one may communicate with the primordial forces that know no fleshly bounds. In them is contained all the knowledge, all the power, all the mysteries. I’ve only recently begun working with them in earnest, but it’s proven to be a very rewarding journey thus far.
What is the meaning and inspiration behind the name 'Trepaneringsritualen’?
I never chose the name, it was given to me along with the task of carrying the curse that is T × R × P. I willingly go where I am lead. I believe the name hides many meanings, but the core would be to open ones third eye and thus come in full communion with all the gods, and all that lay beyond the created worlds.
On the albums you record everything by yourself, are you open to working with other musicians?
That is not entirely true, there’s a number of outside collaborators, without whom Kainskult would not have been the same. Thanks and praise are due to Blitzkrieg Baby, Lina Baby Doll, Veil of Light, Nordvargr, Idlu Lili Regulus, Michael Idehall, Kim Larsen, Thomas Bøjden, Joachim Nordwall, Peter Bjärgö, DE · TA · US · TO · AS, Antti Litmanen, Daniel Hofmann, Aaron Turner, Fredrik Bergström, David S. Herrerías, Alone in the Hollow Garden, Dag Rosenqvist, and last but not least Peter Johan Nijland.
Furthermore, I am never truly alone in T × R × P, as I believe it is something far greater at work here than just one man’s creativity. There are plans in the works that will see T × R × P grow far larger and far more powerful, but it’s too early to go into greater detail at this time.
What are some of the best shows that you have played over the years and also how would you describe your stage performance?
Each performance is ecstatic revery and hallucinatory ritual. The aim is to throw both myself and the audience headfirst into the Void ∴ Vision ∴ Vortex and to escape the bondage of flesh. The joint ritual with my brothers in Sutekh Hexen at Stella Natura in 2013 is one that had a profound effect, not only on me but anyone in attendance. Just ask anyone who was there, all of creation howled in agony and turned on us. A recording of the event is available on Pesanta Urfolk with the title One Hundred Year Storm, though it comes nowhere near doing justice to the awesome power present then and there.
Do you have any touring or show plans for the future?
There's a handful of one-nighters across in the coming month and a half, then a bit of a break followed by 18 dates across Europa with Batushka and Shammasch in January. The rest of 2018 is still too sketchy to mention, but I have no plans of slowing down, quite the contrary.
The new album was released on 'Tesco Organization', can you tell us a little bit more about this label?
Tesco Organization is nothing short of legendary. They’re celebrating 30 years of uncompromising audial assaults this year, so it’s, of course, a huge honor to be working with them.
On a worldwide level how has the feedback been to your music by fans of ritual and death industrial?
I hear words like “legendary” bandied around, so I think it’s fair to say that people are appreciative.
Where do you see yourself heading into as a musician in the future?
I go where I am led, so it is not for me to say. Like I said, T × R × P is something far greater than me, and its purpose is far from clear to me. Therefore I strive to put as little of my own consciousness into it as I can.
What are some of the bands or musical style that have had an influence on your newer music and also what are you listening to nowadays?
I listen pretty much exclusively to folk music these days, but it’s been a good fall for new music I must say. I’ve been listening a lot to the new albums by Zola Jesus, Myrkur, Wolves in the Throne Room, and Arckanum. All are warmly recommended. The roots of the T × R × P lay in the ritual industrial bands of the 80’s; Zos Kia, Current 93, Zero Kama, Ain Soph, Lustmord and so forth, and of course Brighter Death Now. Anything on Galakthorrö also hits the spot. I also urge everyone to check out the works of all of the contributors to Kainskult.
How would you describe your views on Occultism?
The purpose of T × R × P is to reveal that which is hidden, but words ending with “ism” rarely contribute anything of value to this world. I forge my own path.
Before we wrap up this interview, do you have any final words or thoughts?
Kainskult is available now on vinyl, cd, and as download on Tesco Organization.